Preserving History Film
Blackmagic Design’s tools help revive both old and new films
I would have thought that all of the films that needed repair or restoration would have been repaired or restored by now.
Cinematographers adopt on-set color-management systems to maintain their original vision
Of all the disasters that can happen on set and on location, perhaps one of the most hair-raising has to do with color.
The Desktop DI, Part II
NLE systems, stand-alone compositors and plug-ins help editors become colorists
Rob Carroll, President & CEO of Cine-tal, a manufacturer of color-calibration software for television and feature-film production, likes to think long-term. “Our business has been through a lot,” he says. “We spent years understanding and improving compression technology.
The Desktop DI, Part I
In part one of a two-part series, HDVideoPro explains DI versus color correction, as well as examines new desktop DI hardware
The story of digital intermediate (DI)—desktop or otherwise—begins with the DP. If you ask a typical Hollywood director of photography about color correction, he or she usually will reply, “Shoot for the look you want and don’t expect the colorist to ‘fix it in the mix.’”
The Quest For Uncompressed
Creative studio Mind Over Eye delivers uncompressed HD from production through post
The pursuit of uncompressed HD for uncompromising high-definition production quality has made Mind Over Eye one of the West Coast's most cutting-edge commercial production facilities for its national clients.